Tiffany Favrile lava glass vase hits $62,100 at Leland Little Auction

A stunning early 20th century Tiffany & Company Favrile lava glass three-handled vase soared to $62,100 at a two-session multi-estate auction dedicated to Fine Wine and Fine & Decorative Arts held Sept. 17-18 by Leland Little Auction & Estate Sales, Ltd. The event was held in the firm’s new, state-of-the-art gallery, at 620 Cornerstone Court.

The vase was the top lot in a sale that saw more than 100 fine wine lots change hands in the Sept. 17 session and around 550 lots cross the block the following day. Overall, the auction grossed $750,000.

Leland Little of Leland Little Auction & Estate Sales, Ltd. remarked that Asian objects, estate jewelry, fine art and ceramics were all strong performers in the sale, while English and American furniture prices (which aren’t being as rewarded financially due to tepid demand) didn’t do quite as well. “But even there,” he added, “we saw exceptions at the top level of merchandise. In the end, quality will override a soft market.”

He cited as an example an American Classical stencil-decorated center table, made in the 1820s, mahogany with mahogany veneers, attributed to Deming & Bulkley, New York cabinet makers. It went for $9,200, about triple the high estimate. Also, a Renaissance-style American marble-top buffet, made around the 1870s, walnut with poplar and pine, also did well at $4,140.

The Tiffany vase was the undisputed star lot of the auction, wowing bidders with its organic baluster form and rich gold overlay on a bluish-purple body. Another Tiffany decorated Favrile glass vase, baluster form with a green ground and pulled gold decoration, made $7,475, while a signed Daum Nancy French art glass low vase with nice forest scene garnered $3,680.

About Art After X

With the death of President Kennedy in 1963, America changed. As hard as it is to minimize that sentiment, the effect of Dallas was even greater. The same year saw the merging of the Dallas Museum for Contemporary Arts, which had been central to the art scene, and the Dallas Museum of Fine Arts. Douglas MacAgy, then the director of DMCA, not only opposed the merger, but also declined to directorship of the combined museum. The regionalist movement which had been strong for decades, was giving way to more of an interest in what was going on nationally, and internationally. Like it or not, Dallas was on the national stage.

When the Kennedy’s arrived in Fort Worth, local collectors had decorated a hotel room with internationally-renowned works. While the president and his wife learned a great deal about the ability of Texans to collect major art, there was little they could glean about the local scene in this era-defining city.

With this in mind, we have begun a project to look not back at the art scene in Dallas, but foreword from 1963. We are interviewing gallery owners, curators and others involved in the art scene then, but this will be a story told mostly through interviews with artists active in the city from that point into the 1980s.

The result will be a book with a video component.

We hope you will join us in our journey. The hashtag for the project is #artafterx and the url will point to the latest updates on this weblog.


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